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Showing posts with label synopsis. Show all posts
Showing posts with label synopsis. Show all posts

Sunday, November 6, 2016

How to cram 80,000+ words into a synopsis



cj Sez:  For all of my fellow authors who’ve undertaken the National Novel Writing Month challenge to write 50,000 words in thirty (30) days, remember, word by word gets the job done.
Keep On Keeping On !!!

   I’m feeling better than I was last weekend (thanks for asking). In fact, I’m feeling so much better, I’m starting on a synopsis for my work-in-progress. Since I don’t do a formal outline of my story (gasp), I tend to use the synopsis as a form of outline. Someone asked me once how I knew when I’d reached the end of my story if I didn’t know where it was going. The reason I don’t outline is because once I’ve gone through that whole process, I feel as if I’ve written the entire story. I need the excitement of finding outas I writewhat kind of trouble I can create for my characters then figure out how to get them out of it. I write until I’ve solved all the characters’ problems then I’m done. I am, however, beginning to see the advantages of outlining for this mystery I’m writing. I’m researching a few how-to-write sites which I hope will teach me to be less of a pantser, though I like to think of myself as a pathfinder.

   I’ve talked with writers who say they have absolutely no problem creating a synopsis. Not so me.


   As with learning how to outline/plot, I need a step-by-step, how-to, synopsis cheat-sheet and would love to find the one I safely filed away a few years ago. But I do remember some of the important rules. As I’ve said before, some rules are made to be broken, but first on the list is to know what they are. I would never advise a novice writer to break any rules when submitting a manuscript, especially if the instructions are spelled out on an agent’s or publisher’s website. And always, always use the agent/publisher instructions for font, page layout, and number of pages s/he expects.

   So here’s my synopsis outline:

* Write the synopsis in third person, present tense.  Since my stories are written in past tense, I need to keep that directive on a piece of paper taped to the monitor in front of me.

* Start with a hook (the character or the inciting incident) and reveal the story premise. I think of this as my “elevator pitch” . . . the twenty-five words or so words and the amount of time an author has to impress an agent if perchance they should get caught on the elevator together.

* Concentrate on the primary story line, the turning points, and their effects (internal and external) on the characters . . . and do this in the chronological order of the story.

* As for the characters, only include primary characters by name. Use all capital letters on the name the first time (s)he is introduced within the synopsis. Then be consistent with how the character is referred to in the rest of the document. For example, JOHN DOE might understandably become Johnny for the remainder of the synopsis if that's how he's referred to in the novel. Secondary characters can be described by what they do rather than by name . . . the sheriff, the teacher, the doctor.

* Very important is to show the complete narrative arc for the primary character. How (s)he felt at the beginning of the manuscript and how the character is changed by the end of the story. FACT: You must include the denouement in your synopsis.

* Write in active voice. Use strong verbs and words that show emotions, motivations, conflict, and tension.

* Don’t go into lengthy descriptions and backstory in a synopsis. Unless a character’s physical description or age is pertinent to one of the story threads, keep focused on the nitty-gritty of the main story line.

* The synopsis should be written in the same tone (voice) as the novel. If the novel is lighthearted, the synopsis should be also.  

* It looks soooo simple, doesn’t it? One, two, three and done.  Ha!

   Just like every other writer who’s typed THE END on the last page of their novel, I’ll be trying to cram thousands of words and hundreds of pages of manuscript into a concise document that is sometimes restricted to maybe four or five pages. Though I have read that some peak at eighteen pages, depending on who’s asking for the synopsis.

   Do you have any helpful hints on writing a synopsis? I’d certainly appreciate hearing about them.

  And do stop by on Wednesday when guest author Judy Penz Sheluk offers some thoughts on gremlinsthose editing bugaboos we all encounter.

Okay, you-all guys keep on keeping on, and PLEASE VOTE ON TUESDAY.

cj
PS: Here’s another reminder for a great gift idea to make your holiday gifting $$ go further: Set aside a buck (less than the cost of a cup of coffee or a glass of tea) and buy “More Than Friends,” a bundle of six novels offered by Crimson Romance on Amazon. For 99 cents, you can buy hours and hours of reading enjoyment for yourself, a BFF, or a grab-bag party gift. Check it out at…   http://amzn.to/2dnqnLJ

cjpetterson@gmail.com
Amazon Central Author Page:  http://amzn.to/1NIDKC0
Choosing Carter  -- Kindle  /  Nook  /  Kobo   /  iTunes/iBook
Deadly Star --  Kindle  / Nook  / Kobo

Sunday, June 12, 2016

Golden Donut and Help for the Dreaded Synopsis

cj Sez: Check it out . . .Lee Lofland’s Graveyard Shift has posted a news item:

“BREAKING NEWS!! Zombie Invasion
Earn FREE Registration to Writers' Police Academy”

Yes, use your imaginations to write a KILLER story about the photograph opposite, using
exactly 200 words
and you could win a FREE registration to the 2017 Writers’ Police Academy, along with the Golden Donut Award!

Superstar author Tami Hoag is our contest judge!

Hurry, the contest deadline is July 1st

The Golden Donut contest is open to everyone of all genres, and you do not have to be
present at the 2016 Writers’ Police Academy to win.

Click the link below to enter and for contest details and submission requirements!


***

One thing writers hate doing but most certainly will have to do at some time is the Dreaded Synopsis. An agent may request it in the submission materials, or an editor might want it, and publishers who accept submissions without an agent will also request it.

In other words, writers have to squeeze the heart and soul of their 300- or 400-page literary masterpiece into about 500 words. Self-published or traditionally published, you will need that one- or two-page synopsis before you’re published, and you’ll certainly need it afterwards. With exception of the tell-all ending (necessary in a synopsis), it feeds into many marketing blurbs. 

I’ve spent hours and hours running down a few of Google’s rabbit holes searching out hints and clues and studying methods on how to accomplish the task. Then this wonderful site dropped into my inbox when I was recently recruited to critique an aspiring writer’s work. One of the requirements for the thirty-page submission was to include a synopsis, and the project coordinator forwarded a url to help. The post is from 2012 but was new to me. If you've read it before, maybe this is the time for a fresh look. There are eleven “fill-in-the-blanks” steps to ease you on down the road—each step is followed by relevant examples, using a familiar movie—and then there’s a final example of how it would look, all put together.
 
1.   Opening image
2.   Protagonist Intro
3.   Inciting incident
4.   Plot point 1
5.   Conflicts & character encounters
6.   Midpoint
7.   Winning seems imminent, but…
8.   Black moment
9.   Climax
10. Resolution
11. Final image
      Putting It All Together

I highly recommend a visit to this site if you’re in need of some help on creating the synopsis for your latest work. I have it bookmarked, because I KNOW I will be using it in the future.


What about you? How do you write a synopsis? Was this method helpful?

Okay, you-all guys keep on keeping on, and I’ll try to do the same.

cj
PS: The ‘toons are from Facebook.  
cjpetterson@gmail.com
Choosing Carter  -- Kindle  /  Nook  /  Kobo   /  iTunes/iBook
Deadly Star --  Kindle  / Nook  / Kobo

Sunday, March 8, 2015

Friends and things to do




cj Sez:  I had the good fortune to spend a few hours with two of my Mobile, AL writer friends at the Dauphin Way Baptist Church Expo recently. Betty Spence, whose newly released book of poetry “Traces of Presence” is wonderful, and award-winning poet and writer Mavis Jarrell who has a new short story out in the “Chicken Soup for the Soul The Power of Forgiveness” anthology. (Both of these books are available at Barnes and Noble.) The all-day affair had more than 100 different vendors of unique crafts, food, music. Doesn’t get much better than that.  

I’ve been toiling on the synopsis for my unnamed work-in-progress. As is my wont with all my manuscripts, the starting sentence has been re-worked a dozen times or more to fit what I am saying further down the page.  Basically, the starting sentence is my elevator pitch . . . twenty-five words that might pique the curiosity of an agent in the few seconds I have if we’re caught on an elevator together. The continually revised start has "kind of" stayed in the same tone, but the words have been moved around, removed, re-inserted, moved around again, ad nauseam.

For the rest of the document, I’m taking each chapter and creating a synopsis about it. The document will be chronological in terms of where things happen in the manuscript, and all the story threads will be neatly tied up, but it will include only major characters and major scenes.  

When I’m finished with the whole thing, I’ll ask another writer if (s)he can make sense of what the story is about and are there questions that need answering. Then I’ll get into edit cycle four, five, et al.  

FYI, here’s how the current synopsis begins . . . as copied directly from my document: 


UNNAMED SYNOPSIS romantic suspense, third person present tense active voice  

A woman’s brother escapes from prison, setting off a chain of deadly events that threatens a town and pits him against the man she loves. 

When BRYN McKAY, a freelance marketing consultant living in Colorado, tries to get her brother sober, they end up in near-tragic truck accident that lands him in prison. ROBBIE McKAY becomes a jailhouse convert to Islam, escapes, and vows to exact revenge on the people he believes put him there, including Bryn. 

Bryn loves and is in pursuit of naturalist and outdoor guide, CARTER DANIELSON—she thinks he’s beautiful (he is). Part Cherokee and part Swedish, blue-eyed and mocha-skinned Carter is a recovering alcoholic that balks at romantic commitments. That makes him all the more attractive to her, and she hypothesizes, You’d be so easy to love. If only you’d let me. A visit from the FBI, a threatening phone call from Robbie, and a break-in at her home persuade Bryn that Carter might be right when he says she’ll be safer if she celebrates her birthday on a Yampa River rafting trip with him. She doesn’t really believe her brother is a serious threat to her, but the thought of rafting the beautiful river canyon of Dinosaur National Monument is too appealing to pass up.  


Here's your chance. Tell me what you think. Would you like to read more of this story? I’d love to know why or why not.

Okay, you-all guys keep on keeping on, and I’ll try to do the same.

 
cj
The very apt 'toon is from Facebook.
 
PS:  Did you remember to “Spring Forward?”
 

Saturday, February 21, 2015

WRITING A SYNOPSIS


 
cj Sez:  I’m feeling better than I was last weekend (thanks for asking).
 
In fact, I’m feeling so much better, I’m starting on synopses (more than one = synopses, right?) for my works-in-progress. Since I don’t do a formal outline of my story (gasp), I use the synopsis as a form of outline. Someone asked me once how I knew when I’d reached the end of my story if I didn’t know where it was going. The reason I don’t outline is because once I’ve gone through that whole process, I feel as if I’ve written the entire story. I need the excitement of finding outas I writewhat kind of trouble I can create for my characters then figure out how to get them out of it. I write until I’ve solved all the characters’ problems then I’m done. The End.

I’ve talked with writers who say they have absolutely no problem creating a synopsis. Not so me. I need a step-by-step, how-to, cheat-sheet and would love to find the one I safely filed away a couple of years ago. But I do remember that there are important rules. As I’ve said before, some rules are made to be broken, but first, one must know what they are. I wouldn’t, however, advise a novice writer to break any rules when submitting a manuscript, especially if the instructions are spelled out on an agent’s or publisher’s website. And always, always use the agent/publisher instructions for font and page layout format.

So here’s my synopsis outline:  

Write the synopsis in third person, present tense.  Since my stories are written in past tense, I need to keep that directive on a piece of paper taped to the monitor in front of me.

Start with a hook (the character or the inciting incident) and reveal the story premise. I think of this as my “elevator pitch” . . . the twenty-five words and amount of time a writer has to impress an agent if caught on the elevator together.

Concentrate on the primary story line, the turning points, and their effect (internal and external) on the characters . . . and do this in the chronological order of the story.

As for the characters, only include primary characters by name. Use all capital letters on the name the first time (s)he is introduced within the synopsis. Then be consistent with how the character is referred to in the rest of the document. For example, JOHN DOE might become Johnny for the remainder of the synopsis. Secondary characters can be described by what they do rather than by name . . . the sheriff, the teacher, the doctor.

Very important is to show the complete narrative arc for the primary character. How (s)he felt at the beginning of the manuscript and how the character is changed by the end of the story.

Write in active voice. Use strong verbs and words that show emotions, motivations, conflict, and tension.

Don’t go into lengthy descriptions and backstory in a synopsis. Unless a character’s physical description or age is pertinent to one of the story threads, keep focused on the nitty-gritty of the main story line.

The synopsis should be written in the same tone (voice) as the novel. If the novel is lighthearted, the synopsis should be also.  

It looks soooo simple, doesn’t it? One, two, three and done.  Ha!

Just like every other writer who’s typed THE END on the last page of their novel, I’ll be trying to cram thousands of words and hundreds of pages of manuscript into a concise document that is sometimes restricted to maybe four or five pages. Though I have read that some peak at eighteen, depending on who’s asking.

Do you have any helpful hints on writing a synopsis? I’d certainly appreciate hearing about them.

Okay, you-all guys keep on keeping on, and I’ll try to do the same.

cj

 
 
PS:  All the photos crossed my desk in a recent eMail. Those problems don’t exist on the Gulf Coast, but I have a lot of friends up north dealing with them.
 

 

Thursday, September 10, 2009

Fear of Flying

No, I'm not talking about Erica Jong's novel. I mean I am afraid to fly in airplanes. I have been known to drive 1500 miles practically nonstop to avoid flying. Yet, tomorrow I'm boarding a plane and heading to New England. Yes, this aerophobe is planning to fly on 9/11. To Logan airport in Boston, no less. And worst of all, my flight leaves at 6:40 AM. Way too early to drink myself into an oblivious walking coma.

So, how is this related to writing (besides the fact that my trip will culminate in the Seascape Novel Retreat a week from tomorrow)? Well, here is where JK Rowling comes in.

Everyone's heard the story of how she wrote the first Harry Potter as an unemployed single mom toiling away with ink-stained fingers in a coffee shop, rocking her baby's stroller with a foot while conjuring her story about an orphan who discovers on his 11th birthday that he's a wizard.

A little less known is how she got the idea in the first place. Before the coffee shop, even before the baby, JK Rowling was riding the train when the first seeds of the story came to her. It was a four-hour train ride, and she didn't have so much as a pencil on her to write anything down. For me, that would have been the end of the story, but she says it was a godsend. She was forced to plan out all the major plot points of the entire story arc in her head.


Tomorrow I will be stuck on a plane or in an airport for 7 1/2 hours. One of the workshops at the retreat will be on how to write a synopsis, a skill for which I have absolutely no talent. In order to prepare for that much needed class, I plan on using all that time to finish plotting out my current WIP so I'll have the raw material from which to create a masterful and agent-enticing synopsis. And that's where any similarities between me and JK Rowling end.


Besides the obvious differences, I am planning on carrying ample writing periphrenalia with me--as much as I can fit into a carry-on bag. Other women may travel with makeup, lotions, and tissues. I'll have pens, pencils, and paper. And maybe some tissues. I will probably cry, possibly several times, during this process. After all, I was the girl who always outlined my high school essays AFTER I'd written them because I just couldn't seem to manage it the other way around.


So, my plan is that when I finally land in Boston at 1 PM eastern time, I will have a preliminary outline of my novel.



Wish me luck on both accounts!


Tracy